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Mimesis is one of the oldest, most fundamental concepts in Western aesthetics. This book offers a new, searching treatment of its long history at the center of theories of representational art: above all, in the highly influential writings of Plato and Aristotle, but also in later Greco-Roman philosophy and criticism, and subsequently in many areas of aesthetic controversy from the Renaissance to the twentieth century. Combining classical scholarship, philosophical analysis, and the history of ideas--and ranging across discussion of poetry, painting, and music--Stephen Halliwell shows with a wealth of detail how mimesis, at all stages of its evolution, has been a more complex, variable concept than its conventional translation of \"imitation\" can now convey. Far from providing a static model of artistic representation, mimesis has generated many different models of art, encompassing a spectrum of positions from realism to idealism. Under the influence of Platonist and Aristotelian paradigms, mimesis has been a crux of debate between proponents of what Halliwell calls \"world-reflecting\" and \"world-simulating\" theories of representation in both the visual and musico-poetic arts. This debate is about not only the fraught relationship between art and reality but also the psychology and ethics of how we experience and are affected by mimetic art. Moving expertly between ancient and modern traditions, Halliwell contends that the history of mimesis hinges on problems that continue to be of urgent concern for contemporary aesthetics.

This book represents the most comprehensive account to date of an important but widely contested approach to ethics--intuitionism, the view that there is a plurality of moral principles, each of which we can know directly. Robert Audi casts intuitionism in a form that provides a major alternative to the more familiar ethical perspectives (utilitarian, Kantian, and Aristotelian). He introduces intuitionism in its historical context and clarifies--and improves and defends--W. D. Ross's influential formulation. Bringing Ross out from under the shadow of G. E. Moore, he puts a reconstructed version of Rossian intuitionism on the map as a full-scale, plausible contemporary theory. A major contribution of the book is its integration of Rossian intuitionism with Kantian ethics; this yields a view with advantages over other intuitionist theories (including Ross's) and over Kantian ethics taken alone. Audi proceeds to anchor Kantian intuitionism in a pluralistic theory of value, leading to an account of the perennially debated relation between the right and the good. Finally, he sets out the standards of conduct the theory affirms and shows how the theory can help guide concrete moral judgment. The Good in the Rightis a self-contained original contribution, but readers interested in ethics or its history will find numerous connections with classical and contemporary literature. Written with clarity and concreteness, and with examples for every major point, it provides an ethical theory that is both intellectually cogent and plausible in application to moral problems.

Modern philosophy has been vexed by the question \"Why should I be moral?\" and by doubts about the rational authority of moral virtue. InReasons without Rationalism, Kieran Setiya shows that these doubts rest on a mistake. The \"should\" of practical reason cannot be understood apart from the virtues of character, including such moral virtues as justice and benevolence, and the considerations to which the virtues make one sensitive thereby count as reasons to act. Proposing a new framework for debates about practical reason, Setiya argues that the only alternative to this \"virtue theory\" is a form of ethical rationalism in which reasons derive from the nature of intentional action. Despite its recent popularity, however, ethical rationalism is false. It wrongly assumes that we act \"under the guise of the good,\" or it relies on dubious views about intention and motivation. It follows from the failure of rationalism that the virtue theory is true: we cannot be fully good without the perfection of practical reason, or have that perfection without being good. Addressing such topics as the psychology of virtue and the explanation of action,Reasons without Rationalismis essential reading for philosophers interested in ethics, rationality, or the philosophy of mind.

In the most influential chapter of his most important philosophical work, thePhenomenology of Spirit, Hegel makes the central and disarming assertions that \"self-consciousness is desire itself\" and that it attains its \"satisfaction\" only in another self-consciousness.Hegel on Self-Consciousnesspresents a groundbreaking new interpretation of these revolutionary claims, tracing their roots to Kant's philosophy and demonstrating their continued relevance for contemporary thought. As Robert Pippin shows, Hegel argues that we must understand Kant's account of the self-conscious nature of consciousness as a claim in practical philosophy, and that therefore we need radically different views of human sentience, the conditions of our knowledge of the world, and the social nature of subjectivity and normativity. Pippin explains why this chapter of Hegel'sPhenomenologyshould be seen as the basis of much later continental philosophy and the Marxist, neo-Marxist, and critical-theory traditions. He also contrasts his own interpretation of Hegel's assertions with influential interpretations of the chapter put forward by philosophers John McDowell and Robert Brandom.

Before the nineteenth century, instrumental music was considered inferior to vocal music. Kant described wordless music as \"more pleasure than culture,\" and Rousseau dismissed it for its inability to convey concepts. But by the early 1800s, a dramatic shift was under way. Purely instrumental music was now being hailed as a means to knowledge and embraced precisely because of its independence from the limits of language. What had once been perceived as entertainment was heard increasingly as a vehicle of thought. Listening had become a way of knowing. Music as Thoughttraces the roots of this fundamental shift in attitudes toward listening in the late eighteenth and early nineteenth centuries. Focusing on responses to the symphony in the age of Beethoven, Mark Evan Bonds draws on contemporary accounts and a range of sources--philosophical, literary, political, and musical--to reveal how this music was experienced by those who heard it first. Music as Thoughtis a fascinating reinterpretation of the causes and effects of a revolution in listening.

Caspar Hare makes an original and compelling case for \"egocentric presentism,\" a view about the nature of first-person experience, about what happens when we see things from our own particular point of view. A natural thought about our first-person experience is that \"all and only the things of which I am aware are present to me.\" Hare, however, goes one step further and claims, counterintuitively, that the thought should instead be that \"all and only the things of which I am aware are present.\" There is, in other words, something unique about me and the things of which I am aware.

What is the nature of a conceptual scheme? Are there alternative conceptual schemes? If so, are some more justifiable or correct than others? The later Wittgenstein already addresses these fundamental philosophical questions under the general rubric of \"grammar\" and the question of its \"arbitrariness\"--and does so with great subtlety. This book explores Wittgenstein's views on these questions. Part I interprets his conception of grammar as a generalized (and otherwise modified) version of Kant's transcendental idealist solution to a puzzle about necessity. It also seeks to reconcile Wittgenstein's seemingly inconsistent answers to the question of whether or not grammar is arbitrary by showing that he believed grammar to be arbitrary in one sense and non-arbitrary in another. Part II focuses on an especially central and contested feature of Wittgenstein's account: a thesis of the diversity of grammars. The author discusses this thesis in connection with the nature of formal logic, the limits of language, and the conditions of semantic understanding or access. Strongly argued and cleary written, this book will appeal not only to philosophers but also to students of the human sciences, for whom Wittgenstein's work holds great relevance.

Between Two Worlds is an authoritative commentary on--and powerful reinterpretation of--the founding work of modern philosophy, Descartes's Meditations. Philosophers have tended to read Descartes's seminal work in an occasional way, examining its treatment of individual topics while ignoring other parts of the text. In contrast, John Carriero provides a sustained, systematic reading of the whole text, giving a detailed account of the positions against which Descartes was reacting, and revealing anew the unity, meaning, and originality of the Meditations.

Immanuel Kant famously said that he was awoken from his \"dogmatic slumbers,\" and led to question the possibility of metaphysics, by David Hume's doubts about causation. Because of this, many philosophers have viewed Hume's influence on Kant as limited to metaphysics. More recently, some philosophers have questioned whether even Kant's metaphysics was really motivated by Hume. In Knowledge, Reason, and Taste, renowned Kant scholar Paul Guyer challenges both of these views. He argues that Kant's entire philosophy--including his moral philosophy, aesthetics, and teleology, as well as his metaphysics--can fruitfully be read as an engagement with Hume. In this book, the first to describe and assess Hume's influence throughout Kant's philosophy, Guyer shows where Kant agrees or disagrees with Hume, and where Kant does or doesn't appear to resolve Hume's doubts. In doing so, Guyer examines the progress both Kant and Hume made on enduring questions about causes, objects, selves, taste, moral principles and motivations, and purpose and design in nature. Finally, Guyer looks at questions Kant and Hume left open to their successors.